I’ve probably had enough of Music for Airports riffs at this point. I was on a kick a year and a half ago but dropped off after white noise kinda’ got boring for me.
Apparat brough me back this year. It takes the atmospheric route but it’s use of classical music really puts the album over the top. Every track is coherent and brings a narrative to the album. There’s crackling rain and life on every track as it sort of has a flowing quiet.
Sometimes atmospheric tracks can be harsh, harsher than one would expect from an initial understanding of the genre. The blips and bloops don’t sound natural and are jarring in a Kubrick way. Kreig Un Frieden, on the other hand, is very natural. The strings bring a healthy and full feeling to the album. If there is positivist music, this is it.
This is my best album of the year because of it’s replayability. Given that it doesn’t really have hooks that get old, like a pop album, the album allows you to freely think or read without getting in the way. It’s entertaining enough to also just sit and listen, without keeping yourself busy. This album makes you feel great after you listen to it, which is as much as you can ask from an album, really. It’ll be revisited for as long as my external hard drive is kicking.
I wasn’t a Lagoon believer the first time around. A few jazz and jam band kicks later, I am. This album is very much a jam band album, if one can be an one man jam band (or whatever exactly YL is), with fantastically long and righteous bridges. Like all traditional jams, Powers ensures that the count changes for at least one song, and he filters in and out of what is a 4/4 and into a swinging ballad. Because it’s so delightfully obvious, I was a sucker.
Powers gets the point of quiet, allowing white noise and Eno-esque noises to fill space. It clears out space, makes for interesting listening, and it allows for much greater creschendos.
Like any keyboard god, Powers allows just a few sounds carry him to the end, making sure that there aren’t any sounds that feel un-Wondrous Bughouse. Anyone with a excessive curiousity may fall victim to using too many different sounds on their fancy keyboard.
I just saw Marcus Claiborne not get flagged for a hit on Avant and then the Iggles got flagged on the punt. I’m too mad to finish this.
This is a pretty good album; so much that it’s my #3. You might wanna’ check it out.
They cite Manson (Charles) and others similar as inspiration for this album and it’s probably right. It’s fuzzy, garage metal, trying to invoke Black Sabbath and general jamming.
It would make a great live set and sounds like it’s easily produceable on stage. Or a bar. Especially at a bar. This is what I want to listen to when I drink cheap, poisonous beer. Each song hums and fuzzes along, creating some bangin’ bangin’ bangin’ drinkin’ tunes.
Devil’s Work, the final track, trapses and trudges you through some sort of psychedelic journey through a desert. It builds slowing up to… something. You never get there because you wake up before it ends. And the album is over. Oh, holy fuck that is so familiar. This album is so familiar, yet you’ve definitely never listened to it before.
Me Moan is largely cigarettes, Yuenglings, and unrealized poverty, which is great and very appropriate.
It’s a party and it bounces, sort of like the dingy places that state school kids have ragers at. You don’t notice the mold and welfare neighbors pissed off at you until the morning; the pull of being a fucking asshole was far too strong.
The album is largely on youth, which is a tired topic for me at this point. I mean, this album is probably someone’s #1 somewhere. But, being distanced from this, I was happy to objectify the music and enjoy the references.
The country samples are happy but always sinister, which makes for great implications. Sometimes the bassline wanders, but the premier tracks always stay course. Gibson is sorta’ like country kids’s Drake. Except that country kids hate Drake so no one listens to Gibson. It’s too bad, really. We’ll probably get a few more from Gibson before he hangs it up, but he’s the sort of guy who is likely waiting for a hit.
Regardless, this will be one to look back at if he ever does hit a big one.